Davidson Ospina started out just like any other kid from Queens in the early 80’s, with an intense love of music. ‘My neighborhood exposed me to a wide variety of music. But, I was really inspired by the NYC break-dancing scene. The music at that time was so exciting and made you want to move. I felt the need to contribute to that?. He followed up on that ‘need to contribute’ and by his early teens he was not only producing his own songs, he was remixing other famous artist’s tracks.
It looked like he just might end up to be that kid who made others move.
That was just the beginning. The kid with his keyboards soon became a person sought after by those in the New York Underground scene. ‘Keyboards opened the door, to working with other producers and artists. Understanding musical changes kept my productions moving’. As his productions kept moving with the changes of music in the clubs, his sound began to push back by moving the music heard on the dance floor in new unheard of soulful directions.
His influence on the musical direction of club culture soon had established Underground superstars, like the Pet Shop Boys and Dimitri From Paris (among others), commissioning him for remixes of their own tracks in the clubs.
The momentum of his influence in the Underground did not go unnoticed. It broke through up to the Overground. Popular artists, who wanted to be heard in the clubs, began to come to him. The roster of Popular artists wanting his touch is impressive, with Ospina reworking Britney Spears (more than once), Christina Aguilera, Backstreet Boys, Enrique Iglesias, Gloria Estefan, Mark Anthony, and, well, you get the idea.
These driving soul-soaked productions and pulsating remixes created for A-list artists paid off big in 2006. Ospina scored his first #1 hit: the chart-topping remix of Christina Aguilera’s “Ain’t No Other Man”. It became #1 on the Billboard Club and Radio Charts in September 2006 within only a week of its release. Yet, Ospina was only getting started. From there he launched his own record label and began to foster new talent by introducing new artists to the clubs. Even now, tracks from his labels can be found on all online Underground download stores (and yes, even on iTunes).
Despite his artistic success, all along Ospina never stopped short by being only an artist, he is and always will be a DJ. Artists in the dance music business are famous for creating mind-blowing tracks only to fail miserably at follow-up DJ gigs. For Ospina, that means he has to play the decks with the very same need that makes him produce the intense bridge or sweeping chord change in a song. He just has to, he could not do otherwise: ‘the DJing keeps me fresh, and helps me see what directions the crowds are moving. It’s whatever is exciting to them directly. I work at building an uplifting energy that gets more and more intense; that will keep the dance floor happy’. Ospina comes through just when the crowd needs and even demands it the most. Ospina creates deep, funky, sweaty soul House music; he creates frenzied crowds by lifting their sweaty souls up from the depths of his hard-boiled and burning funk. People are left with a lasting but infectious experience; a night they never knew could be so, so good. He knows how to drop on the crowd just what they need, the reason why they came out in the first place, a need to be soaked in joy: that feeling we all need, especially now.
It is this very ability, that Ospina has, which has made him in demand at the most underground of Underground clubs, known to only those few; along with and even up to the trendiest and hardest to get into glam venues in NYC. But more often than not, he plays out all over the world, for masses of upraised hands in the huge brand name Superclubs to bodies packed into sweaty little clubs across the U.S., Europe, and down to South America.
…So, he did end up being that kid from Queens, who, even now, makes people move.